The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.

All the arts are based on the presence of man, only photography derives an advantage from his absence. Photography affects us like a phenomenon in nature, like a flower or a snowflake whose vegetable or earthly origins are an inseparable part of their beauty.

All films are born free and equal.

Every image is to be seen as an object and every object as an image.

A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.

[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.

Today we can say that at last the director writes the film. The image--its plastic composition and the way it is set in time, because it is founded on a much higher degree of realism--has at its disposal more means of manipulating reality and of modifying it from within. The film-maker is no longer the competitor of the painter and the playwright, he is, at last the equal of the novelist